Livingston and Livingstrong Part 1
by Sydlivingston
Summary: Meet Dr. Sydney Livingston—refined & rebellious activist dealing with abortion rights, same-sex partner rights, euthanasia, health care, hate crimes and gun control. Syd is passionate about her causes, love and life--emotions that spin the serious doctor


FADE IN:

**FADE IN:**

**INT. HOSPITAL EMERGENCY ROOM – NIGHT**

_ALICE and KIT enter the waiting room joining JENNY and MAX._

KIT

What happened? How's Shane?

JENNY

We don't know anything yet.

KIT

Fuck

_Doctor SYDNEY Livingston enters the waiting room. Sydney is an attractive woman—a mixture of exotic and athletic—of Indian descent in her late forties/early fifties. She exudes professionalism, confidence, calmness and control._

SYDNEY

Anyone here with Shane McCutcheon?

EVERYONE

Yes.

ALICE

We all are.

SYDNEY

Time is the enemy, so I'll be brief. Shane is suffering from an apparent overdose. I need to know what she was taking—prescription and recreational drugs.

MAX

No prescription drugs…

JENNY

(interrupting, defiantly)

No recreational drugs either… that would be illegal, right?

SYDNEY

(impatiently)

I'm dealing with practicalities, not legalities.

_Jenny, Max, Alice and Kit exchange looks but are silent._

SYDNEY (CONT'D)

(impatient and disgusted)

You can tell me now when I can help her—or toxicology will tell me in the postmortem.

_Sydney notices Max looking at Jenny pleadingly—but Jenny does not respond. _

SYDNEY (CONT'D)

Call me if you remember anything.

_Sydney leaves the room._

MAX

Jenny we have to tell her.

JENNY

Shane already has a record—they'll prosecute her.

ALICE

Better Shane be in trouble than dead. I'm going to talk to the Doctor.

_Alice leaves to catch the Doctor. _

JENNY (O.S.)

Alice, don't.

KIT (O.S)

Let her go…She's right. I've been there.

_Kit, Jenny and Max watch Alice speaking to the doctor through the waiting room window._

**INT. HOSPTIAL CORRIDOR**

_Alice speaks with Sydney briefly, Sidney touches Alice's arm reassuringly, nods in appreciation and heads quickly toward the exam curtain. _

**INT. HOSPITAL WAITING ROOM – AN HOUR LATER**

_TINA rushes into the waiting room._

TINA

I'm sorry, I came as fast I I could

KIT

Where's Bette?

TINA

She took Angelica to the movies. Her cell is off but I've left messages.

_Sydney enters and looks pointedly at Alice._

SYDNEY

Shane's vitals are stable. She should be fine.

KIT

Thank God.

_Nurse KAREN Garcia enters the room._

KAREN

(to Sydney)

Doctor, car accident involving three teens, one adult and one child. Three are arriving here—one by helicopter two by ambulance. Two are critical.

SYDNEY

E.T.A.?

KAREN

Chopper in 4—ambulance in 9.

SYDNEY

You and I will take the chopper—alert Mann, Anderko and Lewis about the others.

_Karen leaves as a second NURSE enters the room. Sydney turns to leave._

NURSE

McCutcheon family?

_Tine, Alice, Jenny, Max and Kit all move toward her._

NURSE

All of you?

TINA

Yes.

NURSE

I'm sorry, but Ms. McCutcheon is in intensive care. Only immediate family.

JENNY

We are her family.

NURSE

Biological relatives?

_The women look at each other without response._

NURSE

Do any of you have power of attorney or health proxy?

SYDNEY

(turning back before exiting the room)

I'll approve their visitation.

NURSE

(to Sydney)

You're saying _they're family_?

SYDNEY

(smiling wryly)

Let's just say they have different fathers.

NURSE

(with resignation)

Ah-huh. But no more than five minutes every hour—no exceptions.

_Karen pokes her head back into the waiting room._

KAREN

Car victim helicopter in one, Doctor.

SYDNEY

(to group)

Excuse me.

_Sydney exists with Karen._

**INT. HOSPITAL ROOM – MINUTES LATER**

_SHANE is lying in a hospital bed, groggy but awake. Tina, Kit, Max and Jenny surround her. TASHA enters, dressed in LAPD uniform._

ALICE

Tasha?

TASHA

I'm here on official business, Dr. Livingston called me.

ALICE

You know her?

TASHA

Her clinic is on my beat.

TASHA

(continues to Shane)

How are you?

SHANE

OK

TASHA

(speaking professionally to Shane)

The Doctor explained to me that—based on Jenny's and Max's accounts—you went to a party, then came back to the house and collapsed. Livingston believes that you probably didn't know what you took, and most likely will have no memory of the evening.

TASHA

(to the group)

Is that right?

_Pleasantly surprised by Tasha's synopsis, Max and Jenny nod in agreement._

MAX

Yeah, that sounds about right.

TASHA

Unfortunately this situation is not uncommon. Used to be party punch was spiked with grain alcohol—now-a-days it's more dangerous. (sarcastically) Right, Shane?

SHANE

Yeah..OK..deal. Thanks Tash.

TASHA

(firmly)

Don't thank me, thank the Doctor. And there's no deal here. All you have is a small amount of good will, good faith and good fortune—don't waste it.

_The Nurse returns_

NURSE

Time's up ladies.

_Alice, Tina, Kit, Max, Tasha and Jenny say their goodbyes to Shane and leave the room._

**INT. HOSPITAL HALLWAY - CONTINUOUS**

_Jenny, Max, Alice, Tasha and Kit exit Shane's room and are heading toward the waiting room. Alice sees Sidney down the hall and turns to break away from the group._

ALICE

I have to pee.

_Alice leaves the group and heads toward Sydney_

**INT. HOSPITAL CORIDOR - CONTINUOUS**

_Alice walks through the hectic hallway, focused on Sydney, who is close to an exit door surrounded by two interns and two nurses, one of the nurses is KAREN Garcia. The front of Sydney's white coat is smeared with blood. Sydney is calm but the others are visibly shaken and sad. One of the interns, Doctor LEWIS, is biting her lip to hold back tears. Nurse Garcia is holding several charts._

SYDNEY

(taking one of the charts from Karen)

Whose patient was she?

DR. LEWIS

(struggling to keep her composure)

Mine.

_Sydney starts to hand the chart to Lewis but thinks better of it. Sydney opens the chart and glances at her watch before signing the chart._

SYDNEY

Time of death, 9:14. Has her family been notified?

KAREN

Parents are on their way.

SYDNEY

Notify Dr. Lewis when they arrive.

LEWIS

(struggling to hold back tears)

I…I don't know if I can.

SYDNEY

She's your patient, Doctor—_finish_ her care.

LEWIS

But she was only 16…

_Sydney grabs the rest of the charts from the nurse._

SYDNEY

(calmly and professionally)

There's nothing more we can do for her. Clear the board—there are other patients we _can _help.

_Sydney begins handing out charts to the interns._

SYDNEY (CONT'D)

Lewis and Garcia, you take sutures in two; Williams and Connors, bowel obstruction in five.

_A MALE NURSE calls from the hallway to Sydney._

MALE NURSE

Sydney, car accident arriving in one.

SYDNEY

(to the male nurse)

OK.

SYDNEY

(to the group)

Let's go, people.

_The interns and nurses depart for their assignments. Sydney reaches out to stop Nurse Garcia._

SYDNEY (CONT'D)

(to Garcia)

Let me know when the deceased girl's parents arrive. I don't want Lewis talking to them alone.

_Karen Garcia nods in agreement and leaves. _

_Alice overhears DOCTOR WILLIAMS speaking to Lewis as they pass her in the corridor._

DOCTOR WILLIAMS

(to Lewis)

How can Livingston be so damn cold?

_Alice sees Sydney walking quickly toward the emergency door and moves down the hallway to catch Sydney._

ALICE

(calling after Sydney)

Doctor?

_Sydney does not hear Alice. Sydney pulls off her blood-smeared lab coat and discards it in the trash as she walks. Sydney ducks quickly out the exit—the door closing behind her. Alice reaches the door, but stops, and looks at Sydney through the emergency door window_

**EXT. HOSPITAL ROOF - CONTINUOUS**

_Alone on the rooftop, Sydney moves quickly to the railing. A jet passes overhead. Grasping the rail, Sydney leans back and releases a primal scream toward the sky—the shriek of agony muffled by the jet noise. _

**INT. SHANE'S HOSPITAL ROOM**

_Shane is lying in bed, alone in the room. Shane is looking out the window, her view is of the rooftop where Shane sees Sydney's emotional release as the plane passes overhead._

**INT. HOSPITAL CORRIDOR - CONTINUOUS**

_Alice watches Sydney through the small emergency door window. Alice backs out of sight as Sydney re-enters the corridor. Sydney—once again completely composed—is immediately confronted by the male nurse handing her a clean white coat._

MALE NURSE

Auto accident —ambulance with adult and child arriving now.

_Alice watches Sydney move quickly out of sight. _

**INT. HOSPITAL EMERGENCY ROOM WAITING AREA –CONTINUOUS**

_Alice joins Tina, Max, Jenny and Kit. Tina is calling Bette on her cell phone. She hangs up._

TINA

(waving her cell phone)

I still can't get them. It's ringing now, but Bette still isn't picking up.

_There is commotion in the hallway as the car accident victims arrive. The child victim is heard crying for her mother. Tina recognizes the voice as that of Angelica and rushes out of the waiting area toward the screaming child. Tasha is in the hallway._

TINA

Angelica!

**INT. HOSPITAL EMERGENCY ROOM WAITING AREA CORRIDOR–CONTINUOUS**

_Tina is stopped by a struggle with security guards, who do not believe that Angelica is Tina's child. Sydney is attending to Angelica. Tasha and Sydney intervene on the part of a panicked Tina._

TASHA

(to the security guards)

Stop, I know her—this is her kid.

SYDNEY

(to guards)

Let her go.

_Sydney turns to administer care to the adult victim. The profile reveals BETTE is the victim. Kit moves towards Bette._

_KIT_

_(gasping as she sees Bette)_

Oh my God!

_The side of Bette's face is totally distorted and paralyzed. Lewis takes Tina and Angelica to an exam room and Sydney accompanies Bette's gurney behind the exam curtains._

**INT. HOSPITAL EMERGENCY ROOM WAITING AREA –SEVERAL MINUTES LATER**

_A panicked HELENA enters the waiting area to join Kit, Tasha, Alice, Max and Jenny._

HELENA

I came as fast as I could.

_Alice calms Helena._

ALICE

Shane is stable, they're just keeping her overnight for observation. Angelica is fine. Tina is with her now. We haven't heard anything regarding Bette, yet.

_Sydney enters the waiting room. She observes the familiar faces._

SYDNEY

Family of Bette Porter?

_Kit steps forward. Tina enters the room._

TINA

Is there any word about Bette?

SYDNEY

(to Kit and Tina)

What is your relationship to Bette?

KIT

I'm her sister, Kit Porter.

TINA

I'm her partner.

SYDNEY

Who has the health proxy?

_Tina and Kit both shrug._

SYDNEY

Bette has suffered a stroke. She's stable but she has lost facial movement and her ability to speak. She also has no mobility on her right side.

KIT

A stroke? She's too young!

SYDNEY

Age has little to do with it. It could have been stress induced by the accident—or

the accident could have been a product of the stroke. Whatever the case, we need to move forward from here.

TINA

Will she live?

SYDNEY

Probably, but with brain damage.

_Sydney guides Kit to a row of chairs. They both sit down. Tina follows and stands to the side of Kit._

SYDNEY

Kit, in this situation, timing is critical. We have a brief window—less than 3 hours from the onset of your sister's symptoms—where we can work to potentially reverse the damage. I'd like to administer the drug tPA and, if we act immediately, we have a chance to dissolve the blood clot and offer Bette a chance for a full recovery.

TINA

What are the risks?

SYDNEY

I'm sorry—but without paperwork only Kit—as a blood relative—can make decisions

on Bette's behalf.

TINA

I'm Bette's partner. We separated for awhile so the paperwork may not be up-to-date, but we've been together for years and Bette has expressed her wishes to me.

SYDNEY

But do you have the paperwork? A living will?

_Kit stands and positions herself between Sydney and Tina._

KIT

No—she has no legal authority. I'm Bette's sister.

_Tina turns away _

KIT

(to Sydney)

What are the risks?

SYDNEY

It could cause brain hemorrhaging, resulting in death.

KIT

The drug could kill her?

SYDNEY

Yes. But if successful, Bette could experience a full recovery.

_Tina steps forward._

TINA

Kit, Bette's quality of life is so important to her….you know what she would want.

KIT

(ignoring Tina and repeating to Sydney)

But it could _kill_ her?

TINA

(inserting herself, trying to get Kit's attention)

Living as a vegetable is no life.

KIT

(to Tina)

It's my decision.

TINA

Kit, _please! _ I know Bette would take the risk—she has never been one to play it

safe, you know that.

KIT

(places her head in her hands, distraught)

I need to think.

SYDNEY

(to Kit)

Every moment is precious. The longer we delay, the greater the

chance the stroke damage will be permanent.

MAX

What are the odds?

SYDNEY

It's up to the gods as much as odds. Percentages are just anxieties

expressed mathematically. I can give you statistics on survival—but I

can't place a numeric value on quality of life.

JENNY

(to Sydney, defiantly)

If it were your sister what would you do?

SYDNEY

If it were someone I loved, I'd take the risk.

KIT

(nodding slowly)

Go ahead—do everything you can to give my little sister her life back.

_Sydney touches Kits arm with assurance and approval._

SYDNEY

(to Kit)

You'll need to sign some papers.

**INT. HOSPITAL WAITING ROOM – ONE HOUR LATER**

_Sydney enters the waiting room where Kit, Tina, Max, Jenny, Helena and Alice are waiting. Kit rises to greet Sydney_

SYDNEY

(smiling wearily)

Everything went very well. She's not out of the woods yet, but her response to the

tPA is very promising.

KIT

Thank God. When can I see her?

SYDNEY

Shortly—but only for a few minutes. Then you should all go home and get some rest.

You can visit longer tomorrow.

_Sydney leaves._

**INT. HOSPITAL CORRIDOE – CONTINUOUS**

_Alice calls after Sydney. _

ALICE

Doctor?

SYDNEY

(stopping)

Yes?

_Alice catches up to Sydney._

ALICE

I wanted to thank you for helping with Shane….Bette too.

_Alice shuffles self-consciously._

ALICE (CONT'D)

Ya' know, this isn't the first time we meet.

SYDNEY

(kindly)

I remember, I was on duty the night Dana Fairbanks died. You were in such

grief—such emotional pain. Perhaps you still are.

_Sydney touches Alice's arm kindly._

ALICE

I don't want to talk about that.

SYDNEY

Why? Speaking of the dead is a way to keep them alive.

ALICE

(reluctantly and hesitating)

But I'm so…._angry _at her.

SYDNEY

For leaving you?

_Alice shrugs_

SYDNEY (CONT'D)

Don't feel guilty about your anger—it's normal. But you have a responsibility to live for both you and Dana—once her memory is gone she dies forever. Don't let that happen.

ALICE

But I'll never get over her.

SYDNEY

Nor should you. But you need to find a way to carry her memory with you and move on.

ALICE

I think you're delusional, Doc.

SYDNEY

Sometimes it's healthy to hold onto our delusions.

ALICE

You really think so?

SYDNEY

I know so. Learn from your life, Alice, and move on. Enjoy the journey.

Live every day as if it were your last but learn from each day as if you

were going to live forever.

ALICE

(smiling)

Thanks, Doc…for everything.

_A nurse approaches and speaks to Sydney._

NURSE

Dr. Livingston, we have an attempted suicide arriving by ambulance in 3 minutes.

SYDNEY

Excuse me, Alice. We'll continue this another time.

**INT. HOSPITAL WAITING ROOM - MINUTES LATER**

_Doctor Harold Reese enters the room and joins Kit, Tina, Max, Helena and Jenny._

HAROLD

Which one of you is Kit Porter?

KIT

I am.

HAROLD

Ms. Porter, I'm Dr. Harold Reese, the hospital's Chief of Staff. I have been advised that Dr. Livingston approached you regarding administering tPA to your sister, Bette.

KIT

(worried)

Yes….is…is..Bette OK?

HAROLD

As far as I know she's stable and her condition is unchanged. I just want to advise you that the procedure recommended by Dr. Livingston cannot be performed by the hospital at this time.

TINA

I don't understand. Dr. Livingston said the procedure was a success?

HAROLD

_Was _a success?

KIT

She said my sister is in recovery now.

HAROLD

(angrily)

Excuse me.

_Harold leaves the room._

MAX

What's up with that?

_A NURSE enters the room and speaks to Kit._

NURSE

Ms. Porter, you can see your sister now.

_Kit moves towards the door to follow the nurse. Tina follows but is stopped by the nurse._

NURSE

(to Tina)

I'm sorry, immediate family only.

TINA

I'm her partner.

NURSE

Do you have paperwork?

TINA

No, but…

NURSE

(interrupting)

Then there's nothing I can do.

TINA

(pleading to Kit)

Kit, _please?_

_Kit looks away from Tina and leaves the room_

MAX

(to Tina)

Dr. Livingston will take care of this.

_The nurse overhears Max's comment._

NURSE

(calling over her shoulder)

Dr. Livingston is in enough trouble right now. Don't go getting her into more.

_Nurse exists._

ALICE

(to Tina)

What bullshit. If you were married there'd be no question.

TINA

But we're not—at least not legally.

JENNY

Kit should know better.

MAX

She's upset. She'll come around. Let's go.

**INT. HOSPITAL STAFF LOUNGE – MINUTES LATER**

_Sydney takes a water bottle from the refrigerator and holds it to her forehead. Harold enters the room, visibly angry._

HAROLD

Sydney, this time you've gone too far.

SYDNEY

What?

HAROLD

You don't have enough experience with stroke diagnosis and treatment to administer tPA.

SYDNEY

I'm experienced now.

HAROLD

While you might enjoy _practicing _on patients, the rest of the industry requires certification and licenses—in return they give us a little thing called _insurance_. Only Dr. Hernandez is authorized to administer tPA in this hospital.

SYDNEY

He's on vacation and there was no time to transfer her or get anyone else—and her sister signed the waiver.

HAROLD

Signed it under emotional duress and your recommendation. What if the stoke had been hemorrhagic not ischemic?

SYDNEY

80 percent of all strokes are caused by blood clots…you know that.

HAROLD

Do you realize the lawsuit this hospital would be entangled in if you failed?

Not to mention the _media!_

SYDNEY

But the procedure was a success—saving lives means more than just not killing people. We're healers, Harold, not just doctors. Bette Porter can expect a full recovery.

HAROLD

This time. But the consequences could have been disastrous. Sydney, I simply cannot afford the risk of having you work here anymore—I am suspending you from hospital duty.

SYDNEY

Suspending?

HAROLD

Devote full attention to your clinic. I need more disciplined staff here.

SYDNEY

You can't be serious?

HAROLD

(firmly)

Oh, I'm very serious.

SYDNEY

(indignant)

Since when did we become more worried about patients' lawsuits than patients' lives? When did the fear of being sued become more paralyzing than the fear of patient death? Why are we more concerned with media than medicine?

HAROLD

I don't want to hear any more of your rhetoric. I've made my decision.

_Harold starts toward the door_

SYDNEY

(calling after him)

Harold!

_Harold pauses at the door and turns to look at Sydney_

SYDNEY (CONT'D)

What happened to you, Harold? When did you start confusing the Hippocratic Oath with a hypocritical oath?

_Harold does not respond and leaves._

**INT. HOSPITAL ROOM – EARLY EVENING THE NEXT DAY**

Bette _is laying the hospital bed sipping water from a straw. Kit is at her side, holding the water cup._

BETTE

(weak and hoarse)

Thank you.

KIT

How're you feeling?

BETTE

Like I was hit by a truck…but at least I can _feel. _How is Angelica?

KIT

She's fine. Tina is with her now.

_Shane, Jenny, Max, Helena, and Alice enter the room carrying flowers and gifts._

SHANE

Hello—how's the patient?

BETTE

(smiling)

A little worse for wear. But I could ask you the same thing?

_A male DOCTOR and Nurse Karen Garcia enter the room. _

DOCTOR

Ms. Porter, I'm Doctor Hughes. I've been assigned to your case.

BETTE

Where's Dr. Livingston?

DOCTOR

I'll be taking care of you now.

BETTE

I don't understand, why can't Dr. Livingston continue with my care?

DOCTOR

(ignoring the question as he reads the chart)

We'll discuss that another time. Aside from some physical therapy and some follow-up tests you should be fine, You're a very lucky girl.

_The Doctor begins his departure._

DOCTOR

(to the group as he leaves the room)

Ladies, I'm afraid visiting hours are over. You can come back tomorrow.

ALICE

It's been awhile since I've closed a joint.

BETTE

Thanks for coming.

_They bid goodnight and Shane, Jenny, Kit, Helena, Max, Alice, and the nurse turn to leave._

**INT. HOSPITAL CORRIDOR OUTSIDE OF BETTE'S ROOM - CONTINUOUS**

_Shane and Alice leave. Shane steps aside to speak to Nurse Karen Garcia. _

SHANE

What happened to Dr. Livingston?

KAREN

The Chief of Staff dismissed her from hospital duty because she wasn't authorized to administer tPA to Ms. Porter.

SHANE

But Livingston saved her life.

KAREN

You don't have to tell me. Livingston operates a community clinic down on Gracita Place

and the Chief decided it's best for Sydney to devote her full attention

there—which translates into _not here._

SHANE

I know the clinic…I spent time in that neighborhood as a kid.

KAREN

Livingston fills in here at the hospital only occasionally.

Some call her revolutionary; the Chief calls her reckless.

SHANE

What's your take on her?

KAREN

There's not a staff member at this hospital who doesn't pray that Livingston

is on duty if they're ever a patient.

**INT. THE PLANET - DAY**

_Bette, Tina, Jenny, Helena and Kit are sitting around a table having coffee. Tasha, Shane and Alice enter through the front door and join them. All three are dressed in business clothes_

KIT

Hey, how was the court appearance?

SHANE

They tarred, but did not feather, me.

TASHA

You got off easy, girl.

SHANE

Yeah, I know.

KIT

What happened?

TASHA

Turns out the judge is an old friend of Dr. Livingston.

BETTE

So?

SHANE

Tasha and Livingston convinced the judge to sentence me to a 12-step program and a year of community service at Livingston's clinic. They say I'm more a threat to myself than society.

JENNY

(sarcastically)

The amazing Sydney Livingston to the rescue again!

SHANE

Jenny, what's your problem with Livingston? You've been on her case from the start.

JENNY

I don't know—she just bugs me—one of those people who walks around

trying to fix everything--_everybody._

KIT

I think she's kind'a nice to have around.

JENNY

(shrugs nonchalantly )

Yeah—well some things cannot or _should not_ be fixed.

HELENA

I think she's very attractive—don't you?

JENNY

P_lease_ don't tell me you're hitting on the Doctor? She's practically old

enough to be our mother.

HELENA

(smiling seductively and shrewdly)

I think she's exotic—has a refined maturity. Besides, my mother

always said I should marry a Doctor!

**INT. MEDICAL CLINIC – EARLY EVENING MONDAY**

_Shane is working at the reception desk. Nurse Maria enters the reception area followed by a very frazzled woman holding a young crying child. Two other young children run around them, screaming loudly. The mother yells at the children in Spanish as they leave the reception area. _

MARIA

(calling after the mother)

And remember, Doctor Livingston wants you to add yogurt to

your diet to prevent those yeast infections.

_The harried mother and children leave._

MARIA (CONT'D)

(relieved)

OK—well, we took good care of that little mother.

SHANE

(sarcastically)

_Little Mother_ is an appropriate term for her.

MARIA

(smiling but reprimanding)

Shane!

SHANE

Sorry, people in a 12-step program are barbarically honest.

_Tasha enters from the street door dressed in a police uniform, greeting woman and children as she makes her way to the desk. Tasha is popular with the group and the children are very pleased with the attention._

TASHA

(to Maria and Shane)

Good evening, ladies.

MARIA

Hey, Tasha. How's it going?

TASHA

Just grand.

MARIA

(calling the next patient)

Mrs. Gonzalas?

_The woman and children from the waiting room respond by following Maria into the examination room area._

TASHA

Is that the last patient?

SHANE

Yeah—but we thought the last was over an hour ago and they just keep coming.

TASHA

Typical.

SHANE

What does Livingston have against office hours?

TASHA

(smiling)

Nothing, she loves them. That's why the office barely closes.

_Shane looks at her watch._

SHANE

Look at that. 9:00 and my shift is over.

_Shane gets up to leave. Marie returns to the desk area and over-hears Shane's remark._

MARIA

You mean almost over. We saw the last patient—now it's time for paperwork.

_Shane sit back down, reluctantly but acceptingly. _

TASHA

I have to finish my rounds. See you later.

**INT. CLINIC – DR. LIVINGSTON'S PRIVATE OFFICE – SEVERAL MINUTES LATER**

_Shane is placing files on Dr. Livingston's desk. Her eye is caught by a photo of a much younger Sydney smiling with her arm wrapped around the shoulders of another woman. They both look very happy. Maria enters the room_

MARIA

Knock, knock?

_Shane, still staring at the photo, is startled as she turns towards MARIA._

SHANE

Hey.

MARIA

Hey. Did you talk with Sydney?

SHANE

No—I'm still waiting for her.

MARIA

Then you'll be waiting a long time—she just left.

SHANE

Ah, fuck.

_Maria steps closer to Shane._

MARIA

Shane, I remember you when we were both teenagers

SHANE

My foster home was just a few blocks away.

MARIA

Look at you now, all grown up. How are you?

SHANE

I'm good.

MARIA

Well, it's good to have you back in the neighborhood.

SHANE

Ya' know, it actually feels good to be back.

_Maria steps forward, pinning Shane against the file cabinet._

MARIA

I'm particularly glad to see you.

_Shane and Maria embrace and kiss, first slowly then hungrily. While they have sex, Shane's eye continues to be drawn to the photo of Sydney on the file cabinet._

**INT. THE PLANET – DAY**

_Bette, Shane, Alice, Shane, Helena and Jenny are sitting at a table discussing an article from the newspaper that Tina is reading. Tasha and Sydney enter the Planet. Shane waves them over to the table._

SHANE

(to Sydney and Tasha)

You made it.

TASHA

Had to drag her away from the clinic.

JENNY

(snidely)

Even _God_ rested on Sunday.

_Shane looks at Jenny with disapproval._

SHANE

(to Sydney and Tasha)

Please, sit down.

TINA

We were discussing the article in today's paper on crying.

SYDNEY

Maybe one of the few behaviors humans' can really call their own.

JENNY

What?

SYDNEY

Can you name any other creature that laughs, smiles or cries?

And you can't laugh and cry simultaneously.

SHANE

Animals cry.

SYDNEY

Not the way we do. People are very vulnerable when they cry—blurred vision, difficulty breathing—no other creature could ever afford to have its defenses so completely disabled as ours are when we cry.

TASHA

That's why crying is such a social stigma.

SYDNEY

Crying is a natural instinct, but we learn to repress it and pick our times and places carefully—when we know we are safe and secure.

_Bette's cell phone rings. She answers it._

BETTE

(into the phone)

Hello? What? You're fucking kidding me? There's no fucking way I can let that

happen. I'll be right there.

_Bette hangs up the phone._

SHANE

What's wrong?

BETTE

That bastard is just insisting on fucking up this project

TINA

You're the dean—can't you mandate it?

BETTE

I wish it were that fucking easy.

_Bette gets up to leave._

BETTE

Sorry everyone, I've got to go.

_Bette leaves. _

JENNY

(to Sydney)

Did you get the copy of my book I sent over yesterday?

SYDNEY

Yes. I read it this morning.

JENNY

All of it?

TASHA

Sydney reads like a mega words a minute.

JENNY

(biting)

Does she have super powers and x-ray vision also?

SYDNEY

X-ray enough to see through your veiled attempts at fictitious character development, _Jesse._

JENNY

To write it, you must live it.

SYDNEY

Is that what they taught you in journalism class?

_Kit walks over to the table to take Sydney and Tasha's order. _

KIT

(to Sydney and Tasha)

Hey. Welcome to The Planet. What can I get you?

SYDNEY

Just a Diet Pepsi for me.

TASHA

Black coffee for me.

_Kit walks away toward the kitchen._

JENNY

(to Shane)

So, Shane, tell us about that girl you were all over last night. Did you fuck her?

SHANE

Comm'on Jenny.

TINA

And this is coming from a woman whose conquests dominate the chart?

JENNY

(to Tasha and Sydney)

And how about you two? Are you recording your fucks on the chart?

TASHA

Not my style.

SYDNEY

(agitated)

Actually, Jenny, I'm not sure I've ever fucked anyone—at least I hope not.

JENNY

(sarcastically)

Still a virgin?

SHANE

(reprimanding)

Jenny!

SHANE

(to Sydney)

Ignore Jenny's warped sense of humor.

SYDNEY

(to Jenny snidely but calmly)

Sarcasm's a poor substitute for wit.

JENNY

(challenging Sydney)

My wit—or lack thereof—aside, when was the last time you had a good fuck?

SYDNEY

There's a big difference between fucking someone and making love.

JENNY

(very sarcastic)

_Please, enlighten me._

SYDNEY

(to Jenny)

You're the writer, how many words are there in the English language? Yet you default to "fuck" for just about everything.

JENNY

(uncomfortable)

Your point?

SYDNEY

"He's a little fuck," "I'm so fucked-up," "fuck off," "go fuck yourself," "don't fuck with me," "what the fuck do you want from me?"

JENNY

So?

SYDNEY

So, you use the same word to describe the most intimate of human behaviors.

JENNY

Give me a break. So what…you're uptight because you haven't been

fucked…excuse me, do you prefer _laid?_

SYDNEY

Oh I've been fucked in my life—but it's not something I'd like to memorialize on a chart.

_Kit delivers the beverages._

SHANE

What're you saying, Doc?

TINA

(smiling)

Other than expanding Jenny's vocabulary.

SYDNEY

It's more than just the vernacular. Making love is the physical expression of intellectual and emotional intimacy. Why on earth would I ever call that "fucking"?

JENNY

So you think because people like me and Shane like to fuck we don't care about relationships?

HELENA

(trying to break the mounting tension)

Relationships are hard—that's why I'm glad mine are over.

_Helena titters at her own joke but no one else does._

SYDNEY

I'm saying sex and intimacy is difficult without emotion. I've never been a

fan of the "friends with benefits" approach.

JENNY

I've been in long-term relationships.

ALICE

You really mean that you had sex regularly for several months with the same partner.

JENNY

Same difference. I just always thought monogamy was over-rated.

SYDNEY

(pointedly)

Is it, Jenny? Sex always has consequences. Someone gets pregnant, someone gets hurt…

_Sydney's voice trails off. There is an awkward silence as the conversation ends. Sydney finishes her soda, places money on the table, and prepares to leave._

SYDNEY

Then again……….

_Sydney smiles coyly._

SYDNEY (CONT'D)

What the _fuck _do I know?

_The group laughs nervously. Sydney leaves._

JENNY

What the _fuck _was that about?

TASHA

Doc is a bit old fashioned.

JENNY

Nostalgia personified. Or maybe sex is Super Doc's kryptonite?

SHANE

(hesitating)

Sydney has a point.

JENNY

More like a bug up her ass.

HELENA

I think it's sentimental.

JENNY

Or just mental.

HELENA

But you've got to admit she's attractive?

JENNY

Maybe—in a Führer meets Florence Nightingale sort of way.

TINA

"Fucking" … "making love" …. Isn't it just semantics?

HELENA

(wistfully)

I think it is romantic.

**INT. FUNDRAISING PARTY AT PHYLISS'S HOUSE **

_Sydney is scooping a drink from a punch bowl. She is stunningly dressed. CHARLES Worthington joins her. Sydney and Charles notice two very attractive women pass. The women are snuggling and flirting. _

CHARLES

(to Sydney as he watches the lesbian couple pass)

Wow!

_Sydney nods in acknowledgement, but continues to pour her punch._

SYNDEY

(to Charles)

Can I offer you a drink?

CHARLES

(tipping his wine glass)

I'm fine, thank you.

_Charles notices that Sydney is alone and begins to flirt. He nods at another lesbian couple._

CHARLES

(to Sydney)

I'm sorry, I am just not used to being around so many gay women.

SYDNEY

That makes two of us.

CHARLES

Don't tell me I've found one of the few straight women here?

SYDNEY

I wouldn't tell you that—there are far more straight women than gay women here.

CHARLES

What do you think it's like to be gay?

SYDNEY

(thoughtfully)

Lonely.

CHARLES

What?

SYDNEY

I think it's lonely. Imagine, gay couples can have a 20 year relationships yet

cannot walk down the street holding hands.

_Sydney nods to a straight couple against the wall flirting furiously. Charles follows her nod._

SYDNEY (CONT'D)

A long-term gay couple is not afforded the same rights as a straight couple

that has been together for 10 minutes.

_Charles gestures to a young lesbian couple that is also flirting._

CHARLES

It doesn't seem to bother them

SYDNEY

A new generation. Refreshing, isn't it?

CHARLES

And a bit uncomfortable….at least for me.

_Sydney raises her glass to toast with Charles._

SYDNEY

The mind is like a parachute—it tends to work better when it opens.

_Sydney and Chares clink glasses. Phyllis joins them._

PHYLLIS

(to Charles)

Well, you found your target?

CHARLES

Actually I have failed miserably.

PHYLLIS

(confused)

Oh?

CHARLES

I've introduced myself to everyman in the room but the distinguished Dr. Livingston

manages to elude me.

_Phyllis smiles coyly and gestures to Sydney_

PHYLLIS

Then please allow me to assist in your quest and introduce you to Sydney Livingston.

CHARLES

(embarrassed)

Sydney? _Doctor Livingston_, I presume?

_He laughs at his own joke._

SYDNEY

(polite but not amused)

Guilty as charged.

CHARLES

(not deterred)

I'm sorry, I just could not resist.

SYDNEY

I can assure you it's not the first time I've heard that.

CHARLES

I apologize for me and my gender. I'm afraid I was looking for someone…

SYDNEY

(interrupting to alleviate the embarrassment)

A little taller perhaps?

CHARLES

Yes—and with a good deal more testosterone I'm afraid. It is a stereotype of my generation.

SYDNEY

Please don't be embarrassed. The name Sydney doesn't help and, regrettably, the stereotype doesn't end with your gender or your generation.

PHYLLIS

Charles's company has been very generous to the University.

CHARLES

Phyllis tells me great things about you—Cornell undergrad, Harvard Medical School, and now you are dedicating your talents to helping people of color in Los Angeles.

SYDNEY

Thanks for your kind words, although I find it's more a class than color issue. Just people struggling for a better life for themselves and their children.

_Phyllis sees Alice, Bette, Tina, Helena, Jenny and Shane grouped together in conversation. Phyllis catches Bette's eye and motions for Bette and the group to join her. Bette, Alice, Shane Jenny and Tina join Phyllis, Charles and Sydney. Charles and Sydney are engaged in an intense conversation._

PHYLLIS

(off to the side to Alice, and Bette)

Doctor Livingston needs a wingman—take care of her.

_Phyllis looks at Jenny._

PHYLLIS (CONT'D)

(to Jenny)

And Jenny, please step out of character and try to be charming, will you?

PHYLLIS

(interrupting Sydney and Charles)

Well I'm glad you two met. Charles, you know Alice, and Bette….

_Charles barely acknowledges the introductions as he continues his conversation with Sydney. Shane and Helena notice how striking Sydney looks. Phyllis rolls her eyes and leaves to greet other guests._

CHARLES

(in heated conversation with Sydney)

A pharmaceutical man myself, I find your promotion of natural healing especially interesting—although not exactly good for my business.

SYDNEY

Prescription drugs are a luxury of the insured. I simply introduce my patients to natural, affordable methods that are equally effective.

CHARLES

Non-traditional medicines.

SYDNEY

Actually, most of these natural cures are quite traditional.

Some have been around for centuries.

CHARLES

Most major pharmaceutical companies and the FDA would side with me regarding what is or is not the current standard of drug treatment.

SYDNEY

I suspect they would, Mr. ahhh….

CHARLES

Worthington, Charles Worthington.

HELENA

Charles Worthington? Of Worthington Pharmaceuticals?

CHARLES

Yes, _President._

BETTE

(to Alice)

Please don't tell me he just tossed a title at us.

SYDNEY

(pointedly to Charles)

Ahh, yes, I'm familiar with your company.

CHARLES

(smug)

Continue Doctor, you were _enlightening _me on the values of your _natural _cures.

SYDNEY

(calm but irritated)

I was simply pointing out that pharmaceutical companies, such as yours, are publicly traded companies with a fiduciary responsibly to their shareholders and investors—not the public.

CHARLES

Isn't that why we have the FDA? To stop the _big bad _drug companies

from exploiting the public?

SYDNEY

The FDA exists _because_ of the drug companies as natural cures cannot be patented. One could speculate that the FDA's survival depends on the agency protecting the drug companies—not the physicians and patients.

CHARLES

(somewhat threatening)

You have some interesting _theories,_ Doctor, although I tend to think your non-traditional approach hurts you in the area of fund-raising. You're too high a risk for private sector funding and—with more and more government money being devoted to the war-effort—there are precious few public dollars for experimental methods.

SYDNEY

In the end, Mr. Worthington, the issue of health care really boils down our willingness to assert the public interest over the special interests—doesn't it?

ALICE

And I think we'd all prefer to see American dollars spent on education, hospitals and health care than bombs and military machines.

CHARLES

In an ideal world yes—but America is in danger, surely efforts to keep us strong from foreign enemies is not an unwise investment of American resources?

BETTE

America is indeed in danger. The question is whether or not that danger is from foreign enemies or our own miss-guided policies.

SYDNEY

"Never think that war, no matter how justified, is not a crime."

CHARLES

(dismissively)

Nice use of Hemmingway, _Doctor._ But back to my point, while your rhetoric, _girls_, makes for amusing cocktail discussion, the reality is that the only thing more powerful in this country than American's faith in God is their faith in the pharmaceutical companies. Why? Because we advertise a better quality of life and an escape—or at least a reprieve—from death.

SYDNEY

So what about the quality of death?

CHARLES

(flabbergasted)

Are your saying that if pharmaceutical companies advertised

a _death _drug it would be accepted? (shaking his head)

As a doctor how can you even suggest such a thing!

SYDNEY

Doctors should be devoted to preserving life, not just delaying death.

CHARLES

Pharmaceutical companies are dedicated to drugs that

keep people _alive_…surely you are not promoting a culture of death?

SYDNEY

(composed but annoyed)

I'm _suggesting_ that we bring death with dignity out of the closet

and value a _better death_ equally with a _better life_.

_Phyllis has observed that Bette, Shane, Tina, and Alice have engaged in Sydney's and Charles's escalating conversation. Phyllis steps forward to join the group. _

PHYLLIS

(off the side to Bette and Alice)

I told you Syd needed a _wingman_

ALICE

(to Phyllis)

A referee is more like it

_Phyllis inserts herself to terminate the conversation by slipping her arm through Charles's arm._

PHYLLIS

I'm afraid I must steal this handsome gentleman away to meet some other guests.

CHARLES

(to the group)

It was nice meeting you, ladies.

CHARLES (CONT'D)

(to Sydney, demeaning)

It was nice meeting you, _Doctor. _Perhaps if you are ever in New York I can treat you to lunch at the Harvard Club and we can continue this amusing dialogue.

SYDNEY

(pointedly)

I usually stay there when I'm in the city.

_Charles recognizes he's losing face and leaves the group. Phyllis leads Charles away._

SYDNEY

Excuse me.

_Sydney leaves the group._

ALICE

What the _fuck_ was that all about?

_Jenny, Shane, Bette, Tina and Helena shrug._

SHANE

Fuck if I know.

**INT .BREAST CANCER RALLY FOR THE CURE TENNIS BENEFIT - TENT**

_Alice, Helena, Shane and Max approach Sydney who is being congratulated by some of the other guests. Sydney acknowledges the guests then turns her attention to Max and the others. _

MAX

That was a well deserved honor.

HELENA

(flirting)

Congratulations ,Doc.

ALICE

It's nice to see the clinic receive such recognition.

_The group is approached by one of the servers, a middle aged Hispanic woman circulating punch._

SERVER

(speaking to Sydney)

Excuse me senorita, did they say you work at the clinic on Gracita Place?

HELENA

(boasting)

Yes, she was just honored for her work there.

SERVER

(becoming hostile)

But they kill babies at that clinic.

SYDNEY

The clinic provides much needed health care to the community.

SERVER

(interrupting)

Including abortions?

SHANE

We service all family needs with a focus on women's care…

SERVER

(interrupting again)

You call abortions _family_ care?

SYDNEY

Pregnancy options are among the clinic's many services.

SERVER

You call killing a baby an _option_?

ALICE

(trying the reduce the tension)

It's not a baby, more like a ball of plasma doing the breast stroke in a woman's uterus.

SERVER

It's a child!

SYDNEY

No more than a seed is a flower.

SERVER

My Bible says it has a soul!

SYDNEY

Luckily the Constitution saves me from _your _Bible.

ALICE

You can't force your beliefs on others and take away a woman's basic right.

SERVER

(angry)

What kind of a Doctor kills rather than saves lives?

MAX

She provides a great service to the community.

SERVER

Service to sinners and those she makes sinners. She administers to HIV infected addicts and queers while killing innocent babies!

_Max is dejected by the Server's remark and moves away. The server walks toward Sydney placing herself nose to nose. The Server is extremely angry._

SERVER

(to Sydney)

How _dare_ you call yourself a Doctor! You bring sin to this community and death to its children. You are the handmaiden of the devil, and I curse you and all who love you!

_The Server spits into Sydney's drink before handing it to her, and then leaves._

SHANE

(to Sydney)

You OK?

_Sydney nods affirmatively—she is collected but shaken. Helena swaps drinks with Sydney._

HELENA

Here, take mine.

ALICE

(speaking for the benefit of the other guests who have gathered around)

Decisions regarding a woman's body are between the patient, her Doctor, and her

God—no one else.

SHANE

(to the guests who have gathered around)

The show's over everyone.

_The crowd disbands leaving. Shane, Helena and Alice are embarrassed for Sydney. Syd notices Max has wandered outside of the tent and is standing alone by a tree. Max looks pensive and far away._

SYDNEY

(motioning toward Max)

What's up with Max?

ALICE

I think the HIV comment hit him hard.

HELENA

Especially this week.

SYDNEY

What's so special about this week?

SHANE

Max's former boyfriend just tested positive for HIV.

SYDNEY

(confused)

Max's boyfriend? How recent?

ALICE

It's complicated. Max was a lesbian as a woman, and is a gay man now.

SYDNEY

Has Max been tested?

SHANE

No. Says he wouldn't see a Doctor.

SYDNEY

That's not surprising. Gays and Lesbians do not receive the same health care standard as straight Americans. Many are afraid of the stigmas and will not confide in physicians. The transgender factor only compounds the issue.

SHANE

Do you think you can talk with Max? Convince him to come to the clinic?

SYDNEY

I can try.

**EXT. OUTSIDE THE TENT – MINUTES LATER**

_Sydney joins Max._

SYDNEY

You OK?

MAX

Yeah.

SYDNEY

Thanks for sticking up for me back there.

MAX

(shaking his head sadly in disbelief)

That woman was so angry and hateful.

SYDNEY

Hate is a powerful emotion, and abortion is an emotional issue.

MAX

Why do they hate _us_ so much?

SYDNEY

(hesitating for a moment before speaking)

Max, the girls told me about your friend's HIV test. I'm sorry.

MAX

(nods appreciatively)

Thanks.

SYDNEY

Have you been tested?

MAX

No. I don't want to know.

_Sydney strokes Max's arm to reassure and comfort him._

SYDNEY

Trust me Max, knowing is better than speculating.

MAX

I know all about HIV.

SYDNEY

But knowledge isn't wisdom, Max. A wise person acts.

_Max looks away._

SYDNEY (CONT'D)

I can't pretend to know what you are going through and what you have gone through your entire life. You have made brave and courageous decisions. You can't hide from the truth now. We can't control or predict the future—but we can't live in fear of what it might be.

_Sydney moves in front of Max to make direct eye contact._

SYDNEY

Max, come to the clinic tomorrow at 7:00 a.m. We'll do the test before the clinic opens. No embarrassing paperwork or probing questions from strangers. Just me and you.

MAX

I'm not sick.

SYDNEY

Good. Let's keep it that way.

_Max hesitates for a moment then nods in agreement._

MAX

I'll be there. Thanks.

**INT. SYDNEY'S CLINIC, EXAMINATION ROOM – DAY**

_Helena is sitting on the exam table wearing a dressing gown. Sydney enters the room and is surprised to see Helena._

SYDNEY

Helena?

HELENA

Dr. Livingston.

SYDNEY

What're you doing here?

HELENA

Well, you keep spouting about the importance of regular health care.

SYDNEY

Most of my patients are from the local neighborhood.

HELENA

Don't worry, I'll pay the full rate.

SYDNEY

That's not what I meant. (concerned). Helena, is there a problem?

HELENA

No, I just need my yearly pap test and breast exam.

SYDNEY

OK. Please lie back; put your feet in the stirrups.

_Helena reclines and Sydney begins giving Helena a breast exam._

SYDNEY

Right arm up.

_Helena, lying on her back on the examine table, raises her right arm above her head._

SYDNEY (CONT'D)

Do you examine yourself regularly?

HELENA

(joking)

Yes—although I prefer to have someone else do it for me…_if_ you know what I mean.

_Sydney is not amused._

HELENA (CONT'D)

Seriously, I had a good friend die of breast cancer. I'm diligent about checking.

SYDNEY

Yes, I know about Dana.

SYDNEY

(identifying a spot on Helena's breast)

You have some unusual sun damage. We should do a biopsy.

HELENA

Yes, a souvenir of "unprotected sun" in the Riviera.

SYDNEY

(smiling)

Please don't tell me I need to lecture you on the need to practice "safe sun?"

HELENA

No, I've seen the errors of my youthful ways.

SYDNEY

(continuing the exam)

Left arm up.

_Helena lowers her right arm and raises her left. She releases a low, sensual moan as Sydney examines her breasts_.

SYDNEY

Are you all right?

HELENA

(coyly)

Just fine.

SYDNEY

(suspiciously)

Would you be more comfortable if a nurse were present?

HELENA

(seductively)

No. _Would you_?

_Sydney performs the vaginal exam remaining detached and professional. Helena appears to find the procedure sensual and enjoyable._

SYDNEY

You can get dressed now. The results will be available in a few days.

HELENA

(rejected)

That's all?

SYDNEY

Yes. It was nice seeing you again, Helena.

**INT. SYDNEY'S OFFICE AT THE CLINIC MOMENTS LATER**

_Sydney is standing by her desk reading a file. There is a knock at the door._

SYDNEY

Come in.

_Helena enters the room, fully clothed. She closes the door behind her._

SYDNEY

Yes, Helena, is there something else?

_Helena walks toward Sydney, only stopping when they are inches apart. Helena reaches for Sydney's head and kisses her passionately. Sydney pulls away_.

SYDNEY

Helena, no! I'm sorry if I've misled you in any way. I just can't do this.

_Sydney steps away._

HELENA

That's not something I normally hear after a woman has been inside of me.

SYDNEY

(annoyed)

That was a medical procedure.

HELENA

(rejected, but smiling seductively)

Please God, don't tell me you're straight? My gay-dar can't be that off!

SYDNEY

(softens slightly)

It isn't you, Helena. You're an attractive woman. I'm just not in the market for romance.

HELENA

I understand…and of course _just fucking_ isn't in your vocabulary.

_Helena reaches into her purse and pulls out a business card. She steps toward Sydney; their faces again just inches apart. Helena seductively slips the business card into the breast pocket of Sydney's white coat, brushing Sydney's breast slightly with her hand._

HELENA (CONT'D)

But the fact that you just blushed when I brushed your breast

gives me hope that you will change your mind.

_Helena backs away._

SYDNEY

You'll be disappointed.

HELENA

(smiling)

Hope springs eternal.

_Helena leaves the room._

**INT. SYDNEY'S CLINIC RECEPTION AREA - CONTINUOUS**

_Shane is at the desk laughing and joking with a young ten year old girl named Lynette and Maria, the nurse at the clinic. Helena enters from the examination room and hurriedly makes her way to the exit door._

MARIA

(to Helena's back)

Do you need a follow-up appointment?

HELENA

(calling over her shoulder)

I'm late—I'll call.

LYNETTE

(entertaining her audience of Maria and Shane)

OK—time for one more joke before I go home. Why did the cookie go to the Doctor?

SHANE

I give up.

LYNETTE

Because it was feeling _crummy!_

_Shane and Maria laugh, to Lynette's delight. Lynette jumps off the chair, grabs her sweater, and heads to the door._

LYNETTE

Will I see you tomorrow, Shane?

SHANE

Not tomorrow. I'll be back Monday.

LYNETTE

(smiling)

OK—I'll see you then.

LYNETTE

(to nurse)

Good night Maria.

MARIA

'Nite Lynnie.

_Lynette leaves the room._

SHANE

God, I'm just crazy about that kid.

MARIA

She is special.

SHANE

I just can't believe she's so sick.

MARIA

I know. I just love kids. My fiancé and I want at least 3 or 4 kids—maybe more.

SHANE

Ah yes, your fiancé...eight days and counting before the wedding…congratulations.

_Maria steps close to Shane._

MARIA

(seductively)

Of course there's still time for some extracurricular activity…

_Sydney enters the room. Maria steps away from Shane._

MARIA

(to Sydney)

That's all, Doc. A little paperwork and we can call it a week.

SHANE

Hey, the greatest pizza place in L.A. is just a few blocks from here. How 'bout I pick up a pie and wine. We can lock the doors and toast the weekend. What'd 'ya say?

MARIA

Sounds good to me.

_Sydney hesitates briefly._

SYDNEY

(pleased)

What the heck. Sounds great. My treat.

SHANE

We'll argue about that later. I'll be back in 30.

_As Shane is walking out the door a large man wearing a trench coat bumps roughly into her shoulder._

SHANE

(to herself and glancing quickly over her shoulder at the rude man)

_Excuse_ me.

**EXT . SIDEWALK OUTSIDE THE CLINIC - CONTINUOUS**

_Tasha is walking her beat as Shane walks toward her car._

TASHA

Hey, Shane.

SHANE

Hey.

TASHA

Still working?

SHANE

The Doc and Maria are wrapping up inside. I'm doing a pizza run.

Wan'na join us in about 30 minutes?

TASHA

Sounds great.

_Shane gets into her car. Tasha steps out into the street to stop traffic for Shane to make a U-turn. As Shane's car makes the U-turn out of the parking space, a bomb explodes. The flames and debris from the clinic reflect in Shane's car window _

_Shane stops her car in the street, gets out and begins running toward the clinic._

_Tasha is already on her handheld radio calling for assistance. _

TASHA

(into the radio)

Bomb explosion at the women's clinic on Gracita. Need ambulance, fire and police back-up.

_Tasha is scrambling after Shane._

TASHA

Shane, stop!

_Shane continues running until Tasha tackles her._

TASHA

You can't go in there.

SHANE

(winded and panicked)

Syd is in there…and Maria.

TASHA

How many others?

SHANE

That's all, I think…except for the guy walking in when I left.

_Shane struggles to release Tasha's grasp._

SHANE

They could be hurt.

TASHA

I can't let you go in there.

SHANE

(struggling for release)

Tash, _please_.

_Tasha struggles but manages to get a handcuff around Shane's wrist. She clasps the other end to a bicycle rack. _

SHANE

(screaming)

Tasha!

_Medical, fire and police arrive. Orders are being yelled._

FIREFIGHTER

(to Tasha and Shane)

How many people are in there?

TASHA

(pointing to Shane)

She was the last one out. Said the Doctor and nurse were still there,

plus a man—possibly the suspect.

_The firefighter rushes off toward the damaged building. A crowd gathers in the street. Sirens blare. Paramedics emerge from the building carrying a stretcher. Tasha runs forward to see the stretcher and speak to the paramedics, then returns to Shane._

_Tasha unlocks the handcuffs._

TASHA

Its Doc, she's injured but alive. They're taking her to the hospital now.

SHANE

Maria?

_Tasha shakes her head no._

TASHA

Maria's body was found next to the bomber's.

_Shane runs toward the ambulance where the stretcher bearing Sydney is being loaded. She is stopped by a paramedic._

PARAMEDIC

Family only, sorry.

_Shane turns toward Tasha, seeking support._

TASHA

He's right, Shane.

_The ambulance speeds off, sirens blaring. Tasha watches a frustrated Shane bang fists on her car that is trapped by emergency vehicles. Frustrated and defiant, Shane runs toward the bus stop._

_Another police car pulls in front of Tasha._

OFFICER

Do you need help, Officer Williams?

TASHA

No. It's secure.

OFFICER

OK—good luck.

_The officer starts to pull away but Tasha calls after him._

TASHA

Wait! Do me a favor. See that woman at the bus stop?

_Tasha points toward Shane._

OFFICER

Yeah.

TASHA

Can you drop her off at the hospital on your way to the station?

OFFICER

No problem.

_Tasha watches as the patrol car picks up Shane. Shane glances gratefully toward Tasha as she gets into the car._

**INT: HOSPITAL ENERGENCY ROOM – SEVERAL MINUTES LATER**

_Shane races toward the reception desk._

SHANE

Sydney Livingston—she was brought here from the clinic that was bombed.

_Nurse Karen Garcia overhears Shane speaking to the receptionist and recognizes Shane._

KAREN

(to receptionist)

It's OK—Shane, follow me.

_Shane follows the nurse to a private reception area._

KAREN

Shane, I'm Karen. We've met before.

SHANE

Yeah, I remember.

KAREN

Sydney was brought in but we don't know anything yet.

_Upset and shaken, Shane sits down._

SHANE

I just left them….it was minutes.

KAREN

You can wait here. I'll notify you if I hear anything.

_Karen leaves the room._

**INT. EMERGENCY ROOM WAITING ROOM – MINUTES LATER**

_Helena enters the waiting room, joining Shane. They are surprised to see each other._

SHANE

Helena?

HELENA

Shane?

SHANE

What're you doing here?

HELENA

The hospital called me about Sydney.

SHANE

They called _you_?

HELENA

(haughtily)

Yes.

SHANE

About Sydney?

HELENA

Yes. Do you find that so hard to believe?

SHANE

(somewhat hurt)

I didn't realize you two were close.

_Helena steps closer to Shane._

HELENA

Jealous, Shane? Don't tell me you're attracted to Sydney?

SHANE

(defensively)

Aren't _you_?

HELENA

(smirking)

Aren't we all?

_Karen enters the room._

KAREN

Helena?

HELENA

Yes.

KAREN

Please follow me. Doctor Reiwald wishes to speak with you.

_Shane watches Karen and Helena leave the room. Helena is smug that she was selected to speak to the Doctor._

**INT HOSPITAL ENERGENCY ROOM – MINUTES LATER  
**

_Karen returns to join Shane in the waiting room._

SHANE

Any news?

KAREN

They've taken Sydney into surgery. We'll know more in a few hours.

SHANE

What's with Helena?

KAREN

Apparently Sydney was carrying Helena's personal card in her breast pocket. It was the closest contact we had. Sydney is a very private person.

SHANE

But they barely know each other.

_Karen shrugs._

**INT. EMERGENCY ROOM – LATER**

_Alice and Shane have joined Helena and Shane. _

SHANE

(jealously glaring at Helena)

I need to go for a walk.

_Shane gets up and walks out. She walks toward the reception desk and meets Karen._

SHANE

Any news?

KAREN

Sydney pulled through surgery. She's stable. You and your friends should go home. There's nothing you can do here. It'll be hours before she's ready for visitors.

SHANE

I understand.

KAREN

(shaking her head)

It's just so hard to believe. Two years ago a gunman walks into the clinic and

fatally wounds Dr. Weaver, now this.

SHANE

Dr. Weaver?

KAREN

Yes. Sydney's partner in the clinic—and in life, I suspect.

SHANE

I didn't know.

KAREN

Just tragic. I was surprised she went back to work there after the shooting.

Now I'm sorry she did.

**INT. HOSPITAL ROOM THE NEXT AFTERNOON**

_Sydney is lying in the bed. Helena is at her bedside. Shane, Max, and Alice enter the room._

SHANE

Hey, how's the patient?

SYDNEY

(weakly)

I'm better playing Doctor.

ALICE

Not surprising.

HELENA

I was just leaving. Don't stay too late, ladies, Sydney needs her rest.

HELENA

(to Sydney, smiling coyly)

I'm planning the perfect get well gift for you.

SYDNEY

Good night Helena. And thanks.

_Shane meets Helena's eyes. There is tension between them._

SHANE

(to Sydney)

So how are you really?

SYDNEY  
Lousy. And I also have this craving for pizza.

_Sydney forces a weak smile._

ALICE

So basically, Doc, your just all fucked up.

_They all laugh._

SYDNEY

Don't make me laugh.

MAX

It's the best medicine.

_Karen enters the room with a medical tray._

KAREN

OK—everyone out. Visiting hours are over.

SYDNEY

Nurse Kratchet _lives_.

KAREN

It's only because I love you, Doc. Besides, how many times does a nurse get a Doctor as a patient? Revenge is sweet.

_Shane, Max, and Alice move toward the door._

SYDNEY

(jokingly pleading with the group)

You're leaving me with her?

SHANE

You're on you own—later.

_Shane, Alice, and Max are shooed out of the room by Karen. Karen returns to Sydney's bedside and retrieves a needle from the tray._

KAREN

Now for true revenge. Roll over and let me see those buns.

_Sydney rolls over and grimaces as Karen inserts a needle into her buttocks._

SYDNEY

Be gentle with my derriere.

_Shane re-enters the room and is embarrassed seeing Sydney's naked butt._

KAREN

(to Shane)

A little privacy please.

_Sydney catches Shane's refection in the mirror and rolls over, smiling at Shane._

SYDNEY

It's OK. Although I hope the sight of my (doing her best Forest Gump imitation) _But-tocks_ does not leave psychological scars on Shane's tender psychic.

KAREN

(to Sydney)

I have to go.

KAREN (CONT'D)

(to Shane)

And so do you.

SYDNEY

(to Karen)

Can you give us a minute?

KAREN

(to Sydney)

Just one.

KAREN (CONT'D)

(looking at Shane)

And the clock is on.

_Karen leaves Shane alone with Sydney. Shane moves to Sydney's bedside._

SYDNEY

Thanks for coming back.

_Shane nods affirmatively._

SYDNEY (CONT'D)

Tasha told me what happened.

SHANE

I could've stopped him—he bumped right into me.

SYDNEY

There was nothing anyone could've done.

SHANE

I'm sorry about Maria.

SYDNEY

Killing in the name of pro-life—what hypocrisy.

SHANE

We were talking about her wedding, her family plans—then in less than five minutes she's dead.

SYDNEY

It should've been me—I'm the one he wanted.

_Sydney's and Shane's eyes swell with tears, but they do not cry. Sydney reaches for Shane's hand for comfort._

**EXT. HOSPITAL– DAYS LATER**

_Shane is waiting beside her jeep talking with Nurse Karen._

KAREN

Thanks for taking Syd home. It'll be more of a surprise this way.

SHANE

No problem.

KAREN

After you stop at the clinic, you might ask Syd if she wants to stop at

Greenbrier—if you have the time.

SHANE

Greenbrier?

KAREN

To see Sue.

SHANE

Sue?

KAREN

Yeah, Dr. Susan Weaver—Sydney's partner?

SHANE

Oh—sure. Where's Greenbrier Cemetery?

KAREN

It's not a cemetery; it's a convalescing home.

SHANE

But I thought Dr. Weaver was dead?

KAREN

It's complicated. Her wounds were fatal but she isn't

dead—or at least her body's still breathing.

SHANE

I don't understand

KAREN

The gunman shot Sue five times—two bullets to the brain, three to the chest. There was no hope. But Sue was placed on life support—against Sydney's wishes.

SHANE

Syd didn't have power of attorney or a health proxy?

KAREN

Oh, she had her paperwork all in order—Syd is very particular about that kind of thing. But Sue's family intervened, challenging the living will.

SHANE

So Sue's alive?

TASHA

Yes, but a total vegetable. The case has been in the courts for almost two years. The final appeal comes up next month.

SHANE

And Syd's position?

KAREN

Sydney loves Sue very much—they were partners in all senses of the word. But she wants to end Sue's suffering and fulfill her wishes with dignity.

SHANE

Sydney wants Sue _dead_?

KAREN

Syd wants her at peace—Susan's already dead.

_Karen turns and walks toward the hospital door. A nurse is coming through the door pushing Syd's wheelchair. Karen greets Syd at the door and takes over pushing her wheelchair._

_Sydney's left arm is in a sling and a cane rests on her lap._

SHANE

Hi.

SYDNEY

Hi.

_Shane opens the jeep door and gestures dramatically._

SHANE

Your chariot awaits you.

_Sydney smiles and rises gingerly from the wheelchair, grimacing slightly._

KAREN

Good-bye Sydney—be good, and if you can't be good,

SYDNEY and KAREN

(in unison)

_Be careful!_

_They both laugh._

SYDNEY

Thanks, Karen, for everything.

_Sydney and Karen embrace and then Karen assists Sydney into the passenger seat. Shane enters the jeep on the other side and they drive away._

**INT. CLINIC SYDNEY'S FORMER OFFICE – MINUTES LATER**

_The room is devastated from the bomb blast and Sydney uses a cane to walk carefully through the rubble and debris. Her eye is caught by a picture frame partially buried in the ash. Sydney bends, grimacing, to pick up the picture. The glass is cracked but beneath the ash is the smiling photo of a much younger Sydney and Sue. Shane enters._

SHANE

I had to park a block away.

_Shane sees Sydney sadly looking at the photo._

SHANE (CONT'D)

You OK?

_Sydney nods her head yes._

SYDNEY

(looking around at the rubble)

What a mess.

SHANE

Anything I can do?

SYDNEY

(sadly shaking her head)

No. Nothing left here but memories.

_Sydney slips the photo into her arm sling and turns towards Shane. They leave._

**EXT. STREET IN FRONT OF THE CLINIC - CONTINUOUS**

_Shane and Sydney are walking slowly down the street. Sydney is limping and using a cane. Several people on the street greet the Doctor._

SHANE

They sure are happy to see you.

_Sydney doesn't respond. Shane hesitates at store front. The glass is blocked with large sheets of brown paper. Shane points to the new business._

SHANE

This is new.

SYDNEY

Yeah, that space has been vacant for years.

SHANE

Let's check it out.

SYDNEY

No, I'm not up for it—another time

_Shane takes Sydney's arm insistently._

SHANE

Com'on…just a peek.

_Shane and Sydney enter the building._

**INT. INSIDE THE STORE FRONT - CONTINUOUS**

_The room is being renovated. Ladders, lumber and paint cans everywhere. Alice, Max, Jenny, Kit, Tina, and Bette are among the many workers._

ALL

(shouting in unison as they see Sydney)

Surprise!

_Sydney is stunned. Helena emerges from a back room._

HELENA

(to Sydney)

Welcome to your new clinic.

_Alice jumps up on a newly constructed counter._

ALICE

Attention, everyone!

_The group gathers around Alice._

ALICE

It's my pleasure to officially welcome Dr. Sydney Livingston to her new clinic.

_Applause._

ALICE (CONT'D)

The new Susan Weaver, Dana Fairbanks Clinic for Women's and Family Health.

_More applause. Sydney is overwhelmed and visibly touched._

ALICE (CONT'D)

OK everyone, now back to work if we are going to open in three days!

SYDNEY

(to Helena and Shane)

How?

HELENA

(beaming)

This is what the Peabody Foundation is all about. You can say "thank you" to your uptight hospital Chief of Staff. Now that we're no longer funding his initiatives—this is the perfect project for the Peabody Foundation to support.

SHANE

That and a lot of support from the community. The clinic means a lot to this neighborhood.

ALICE

(to Helena and Shane)

Now go ahead, give her the tour.

_Helena usurps Shane to lead Sydney through the waiting room._

HELENA (V.O.)

(pointing as she walks)

This is the reception area. There will be _three _exam rooms.

_Helena turns right._

HELENA (CONT'D)

And this is your office.

**INT. CLINIC OFFICE – CONTINUOUS **

_Helena and Sydney enter a modest office._

HELENA

So what do you think?

SYDNEY

(collected, but her voice slightly emotional)

I think it's terrific.

_Sydney walks over to the desk and slowly rubs her hand against the desktop. Shane enters the room._

SHANE

No work today—there'll be plenty of time for that later. I need to get you home.

_Sydney walks toward the file cabinet._

SHANE

Com'on Doc.

_Sydney retrieves the photo from her arm sling, wipes the cracked glass with her sleeve revealing the smiling faces of a much younger Sydney and Susan Weaver. Sydney places the photo on top of the file cabinet._

SYDNEY

(to the photo)

It was all so much simpler then.

_Sydney turns and walks toward Shane. Shane speaks softly to Syd, ignoring Helena._

SHANE

One more stop before home, (hesitating) Greenbrier?

SYDNEY

(smiling sadly)

That'd be nice—thanks.

**INT. CLINIC - DAYS LATER - LATE AFTERNOON**

_The clinic is in full operation. Shane sits behind the reception desk. Tasha enters the waiting room from the street and exchanges warm greetings with the patients. Tasha walks to stand at the reception desk in front of Shane. The young girl Lynette is sitting next to Shane—obviously enamored. Lynette holds up a cherished stuffed butterfly._

LYNETTE

Why is Mr. Bingo never hungry?

SHANE

I don't know, why?

LYNETTE

(laughing)

Because he's always _stuffed!_

_They all laugh._

SHANE

(to Lynette)

OK, enough. Time for you to go home.

_Lynette stands and gives Shane a hug before leaving. Lynette holds Mr. Bingo (the stuffed animal shaped like a butterfly) so Shane can give it a goodnight butterfly kiss. Lynette walks away holding the stuffed butterfly in the air pretending it is flying. As she leaves, Lynette pauses at the door, turns toward Shane, beats her fist softly against her chest twice, then presses her pointer and index fingers to her lips, then points the two fingers toward the sky. Shane returns the gesture and a smiling Lynette leaves. _

TASHA

What's that all about?

SHANE

Our secret signal—you know, _kids._

TASHA

You two have gotten close.

SHANE

Yeah—I'm the budding comedienne's biggest fan.

TASHA

Seems mutual.

_Tasha leans on the top of the reception desk._

TASHA

Has anyone seen or heard from Syd?

SHANE

Not since I took her home from the hospital.

TASHA

Odd that she hasn't checked on the clinic.

SHANE

Maybe she's just following Doctor's orders to rest. Besides, she knows we're in good hands with Marion and Nellie.

TASHA

You don't believe that for a second and neither do I.

SHANE

Should we check on her?

TASHA

It'll be too obvious if I drop in.

SHANE

How about me? I owe her a pizza.

TASHA

You gonna deliver?

SHANE

Sure.

TASHA

Sounds like a plan. Lemme know how it goes.

**INT. SYDNEY'S HOUSE – THE NEXT EVENING**

_The home is warmly furnished. There is a fire in the fireplace. Classical music plays softly in the background. An open bottle of red wine sits on the coffee table. Sydney is behind the breakfast bar that separates the kitchen from the family room. She is dressed in jeans and an over blouse. Her left arm is free from the sling that hangs limply around her neck. Sydney's half glass of wine sits on the counter._

_The door bell rings. A surprised Sydney answers the door to find Shane standing on the porch holding a pizza box. It is pouring rain and Shane is completely drenched._

SYDNEY

Shane?

SHANE

Bet you thought I'd forgotten about that pizza?

SYDNEY

You're soaked, come in.

_Shane enters._

SHANE

I couldn't get the top up on my jeep. Thought it wasn't supposed to rain in California?

SYDNEY

(singing the 1973 Albert Hammond song)

"Man it pours!"

_Shane doesn't understand the reference._

SYDNEY (CONT'D)

(rolling her eyes)

A song from before you were born,

_Sydney takes the pizza box. And points to the door immediately behind Shane._

SYDNEY

The guest bath is there.

_Sydney opens the door and retrieves a small hand towel. She looks at it skeptically and hands it to Shane._

SYDNEY (CONT'D)

I'll get you some real towels and dry clothes.

**INT. SYDNEY'S SMALL GUEST BATHROOM - CONTINUOUS **

_Shaine undresses and uses the hand towel to dry off._

_Sydney knocks on the powder room door. _

_Sydney opens the door to find Shane, naked except for her underpants. The small hand towel is draped around Shane's neck, just barely covering her breasts. Shane's wet hair sticks to her head, neck and shoulders. She is shivering._

SYDNEY

You're freezing.

_Sydney places the clothes on the vanity._

SYDNEY (CONT'D)

You can wear these until we get your clothes dry.

_Sydney unfolds and wraps a large towel around Shane, encircling Shane with her arms and rubbing Shane's back and shoulders to warm her._

SYDNEY (CONT'D)

God, your chilled to the bone.

SHANE

I'll be OK in a minute.

_Sydney tips her head slightly back. Sydney and Shane face each other—their faces very close._

SYDNEY

The pizza could've waited for better weather.

SHANE

Maybe, but tips are better on rainy nights.

_Shane and Sydney kiss softly, then more passionately. The towel drops from Shane's shoulders. Shane pushes Sydney against the wall and begins unbuttoning her blouse and jeans. Sydney suddenly pulls back, resisting._

SYDNEY

No, Shane, stop!

_Shane stops to look at Sydney. Their breasts still touching through Sydney's blouse._

SYDNEY (CONT'D)

I'm sorry, I just can't do this.

SHANE

(softly but insistent)

Yes you can…..let it go Syd…let me in…if just for tonight.

SYDNEY

I can't.

SHANE

Syd ,you keep yourself in some sort of chastity prison. Living your life doesn't betray Susan…it honors her. How many times have I heard you say that to Alice about Dana? Denying yourself won't bring her back.

SYDNEY

I know that.

SHANE

Then give yourself to me—if just for this one night. I don't know how much longer I can be around you without physically expressing what I feel for you.

_Shane slips her hand into Sydney's unbuttoned jeans._

SHANE (CONT'D)

Let me in, Syd, if just for tonight. Let me _in_.

_Sydney's head snaps back in ecstasy as Shane slips inside of her. They make love passionately._

**INT. SYDNEY'S FAMILY ROOM – JUST BEFORE DAWN**

_Shane and Sydney are lying on the family room floor. The fire has died. An empty pizza box and wine bottle litter the coffee table. A blanket covers their naked bodies. Shane is leaning up on one arm, looking down on Sydney's sleeping face. Her forefinger softly traces one of Sydney's bomb wounds. Syd awakes._

SHANE

(smiling)

Hey.

SYDNEY

(smiling and stretching)

Morning. Is it light out?

SHANE

Not yet.

_Shane points to the fresh wound._

SHANE

Does it hurt?

SYDNEY

A little. The physical wounds are healing nicely.

SHANE

(softly touching Sydney's head then heart)

What about the emotional scars?

SYDNEY

They'll also heal, in time.

SHANE

You were wonderful last night.

SYDNEY

(embarrassed)

Thanks—you were pretty terrific yourself. But you know that already, don't you?

_Shane shrugs immodestly. _

SHANE

You're a very considerate lover.

SYDNEY

(baffled and slightly offended)

_Considerate_?

SHANE

I mean that as a compliment. Most people just care about their own pleasure.

You give and take. It's nice.

SYDNEY

(smiling)

I'd rather be described as _hot._

SHANE

It was great—not just a fuck.

SYDNEY

Good sex?

SHANE

I don't know, maybe making love?

_Sydney is pleased and Shane kisses her softly._

SHANE

I have to go. I'm not into sleep-overs.

SYDNEY

You're not one of those _vampire_ lesbians are you? Afraid of dawn?

SHANE

No—just my style. I'd like to see you again.

SYDNEY

I'd like that too, but, Shane _(hesitating)….._it may seem silly to you, but I'm not keen on my name being splashed all over the Internet on some sort of chart.

SHANE

Your secret is safe with me.

_Shane runs her finger around Sydney's breast._

SHANE (CONT'D)

Discretion is the greatest form of valor, right?

SYDNEY

And at the clinic?

SHANE

Just a Doctor and staff relationship.

SYDNEY

Thanks.

**INT. SYDNEY'S CLINIC WAITING ROOM – LATE EVENING**

_Alice is working as a volunteer at the reception desk. Sydney walks out of the exam room with a patient._

SYDNEY

(to patient)

I want to see you again in two weeks. Remember the vinegar baths—it worked for Cleopatra and it'll work for you.

PATIENT

Gracias.

_The patient leaves_

ALICE

It's good to have you back.

SYDNEY

Good to be back. Thanks for helping out. Is that it for tonight?

ALICE

Yep, 8:15 and we are finished for the day—early dismissal.

SYDNEY

Bueno. You get out of here—I'm going to wrap up some paperwork and

then be right behind you.

ALICE

Syd, there is a great band playing at The Planet tomorrow night.

A bunch of us are going—why don't you join us?

SYDNEY

(shyly)

I'm not sure that's my scene.

ALICE

Com'on—you're always saying broaden your horizons. You can trade Rachmaninoff for rock for just a couple hours?

SYDNEY

Maybe.

**INT. CLINIC EXAM ROOM – SEVERAL MINUTES LATER**

_Sydney is straightening some items on the counter. Shane enters, startling Sydney._

SYDNEY

Shane?

SHANE

Sorry, I didn't mean to startle you.

_Sydney smiles._

SYDNEY

I was hoping I'd see you later.

SHANE

(smiling playfully)

It _is _later.

_Shane walks seductively toward Sydney, pinning her against the counter. She nods playfully toward the exam table._

SHANE

Ever try those stirrups for recreational use?

_Sydney and Shane kiss and embrace passionately. They make love on the exam table._

**INT. THE PLANET – THE NEXT NIGHT**

_The room is crowded. Loud music is playing. Alice pushes her way through the crowded dance floor followed by Sydney, making their way to a table where Max, Jenny, and Helena are sitting. _

ALICE

(to Sydney)

Com'on over to our table—we're toasting Jenny's latest publishing accomplishment.

SYDNEY

(to Alice)

_Toasting _Jenny? Wouldn't an exorcism be more appropriate?

ALICE

Wow! Doctor Syd made a joke!

SYDNEY

Did I?

_Sydney and Alice join Jenny and Max's table. Max rises._

MAX

(to Syd)

Sit down here until Helena comes back. I'll get another chair.

_Max goes off to retrieve a chair._

ALICE

(to Syd)

White wine?

SYDNEY

That'd be great. Thanks.

_Alice heads to the bar, leaving Sydney alone with Jenny._

SYDNEY

Congratulations Jenny.

JENNY

Listen Sydney, didn't confuse your being invited to sit here with being welcome.

SYDNEY

No, it's perfectly clear.

JENNY

(boasting)

When I was growing up I thought I was just a mixed up Mid-Western kid. Who would have thought I'd be a successful Hollywood artist?

_Max returns with a chair, Alice places a glass of wine in front of Sydney. Helena joins the table._

SYDNEY

(just to Jenny)

With an artist, sometimes the only difference between genius and psychosis is success.

JENNY

(haughtily)

You flatter me with genius.

SYDNEY

(to Jenny)

How clumsy of me, I meant to insult you.

_Sydney quickly picks up her glass in a salute._

SYDNEY

(to all)

To Jenny's continued success.

_They all toast._

ALL

Here, here.

_Jenny eyes Sydney and smiles awkwardly. Sydney's eye is drawn to the side of the room where Shane is flirting and fondling a young woman. Helena sees Sydney notice Shane._

HELENA

(to Sydney)

Shane's always busy on a Saturday. Does she know you're here?

SYDNEY

No.

MAX

(shouting over the music to Sydney)

So how are preparations for tomorrow?

SYDNEY

The rally looks great. Over 100,000 are expected.

MAX

A good turn out.

HELENA

I wish people were more proactive when it comes to the

Human Rights Campaign initiatives.

SYDNEY

It really doesn't take that much effort—all you have to do is press a computer button to register opinions with your legislators.

ALICE

And we know the extreme right is doing it.

MAX

Like a well oiled machine.

SYDNEY

And hate crime legislation is just too important.

MAX

How can anyone be against non-violence and discrimination?

ALICE

Apparently many who preach peace.

HELENA

Like the people who bombed the clinic.

MAX

Well, at least some are taking action.

SYDNEY

To some extent, but never confuse motion with action.

Activity without accomplishment is just a reason to be busy.

_An attractive young man flirts with Max as he passes the table._

ALICE

(to Max)

He's cute.

_Max makes eye contact with Sydney._

MAX

Yeah, but I'm off the promiscuous sex market.

_Restless and uncomfortable, Sydney's eye continues to be drawn toward Shane and the young woman. Sydney reaches for her pager._

SYDNEY

(looking at her pager)

I have to go.

HELENA

So early?

SYDNEY

Hazard of the job.

_Sydney leaves. Shane and her date join the table—Shane's arm is still around the YOUNG FLIRTATIOUS WOMAN_.

SHANE

What's up?

ALICE

You just missed Sydney.

SHANE

(surprised)

Syd was here?

ALICE

Just left. You could probably still catch her.

SHANE

Excuse me.

_Shane pushes quickly through the crowd toward the exit._

YOUNG FLIRTATIOUS WOMAN

(to Shane's back)

Hurry back!

**EXT. OUTSIDE THE PLANT - CONTINUOUS**

_Shane sees Sydney crossing the street._

SHANE

Syd, wait!

_Sydney stops. Shane crosses the street to join her. They meet next to Shane's jeep._

SHANE

Why didn't you say hello?

SYDNEY

You were busy.

SHANE

Why are you leaving so early?

SYDNEY

I've got to go—I've been paged.

SHANE

(skeptical)

Is that true?

SYDNEY

I've gotta go.

_Shane steps between Sydney and the jeep to stop her from leaving._

SHANE

You know you're special to me—but you also know who I am.

SYDNEY

Of course—the famous _lesbian lover_. It's OK, I get it.

SHANE

I think you're lying. I think it bothers you to see me with someone else.

SYDNEY

It was a mistake to come here.

SHANE

Answer me—_please!_

SYDNEY

Maybe you're right. Maybe it does bother me to see you with someone else.

_Sydney closes the narrow distance between her and Shane, pinning Shane to the jeep. They are face to face._

SYDNEY (CONT'D)

Maybe knowing my lover is the hottest property in L.A. _is_ too much for me to handle. Maybe it makes me so hot that it is all I can do not to take you in the back seat right now.

_Sydney steps back._

SYDNEY (CONT'D)

And that's really why I'm leaving.

_Shane opens the jeep door with one hand and pulls Sydney inside with the other. They tumble into the backseat—the door closing behind them._

**INT. SHANE'S JEEP BACK SEAT - CONTINUOUS**

_Sydney and Shane make passionate love. Shane arches in ecstasy leaving her hand print on the steamed jeep window._

**EXT. OUTSIDE THE PLANET** **– CONTINUOUS**

_The young woman Shane was flirting with crosses the street, looking for Shane. She stops at the jeep and sees Shane's face through the handprint as she climaxes while making love with Sydney. The young woman turns abruptly and returns to The Planet._

**INT. PLANET - CONTINUOUS**

_The young flirtatious woman storms toward the table where Alice, Jenny, and Max are sitting._

YOUNG FLIRTATIOUS WOMAN

You can tell your friend Shane to go to hell.

ALICE

What?

YOUNG FLIRTATIOUS WOMAN

I'm in here waiting for her, and Shane's outside fucking someone else.

ALICE

What?

_Shane joins the table. The young flirtatious woman tosses Shane's drink into Shane's face._

YOUNG FLIRTATIOUS WOMAN

Maybe that'll cool you off!

_Flirtatious woman storms off. Alice hands a couple napkins to Shane._

ALICE

How the _hell _did you pick someone up from here to the door?

JENNY

Weren't you just going to say "hi" to Syd?

_Alice's face lights up in revelation._

ALICE

Oh _my _GOD!

JENNY

What?

ALICE

That's it!

ALICE (CONT'D)

(to Shane)

You're fucking the Doctor!

_Helena re- joins the table in time to overhear Alice's remark._

HELENA

Who's Shane fucking this time?

JENNY

Syd.

HELENA

(jealous)

A little out of your league isn't she, Shane?

SHANE

(indigent)

I'm not _fucking _Syd_—_OK? Back off.

_Shane storms off angrily._

ALICE

Oh, she is _so_ fucking Syd.

JENNY

But why would she lie about it?

_Helena watches Shane leave._

HELENA

(contemplative and concerned)

I think she's being _completely_ honest.


End file.
